Studio 60 1.22: "What Kind of Day Has It Been"

Written by Aaron Sorkin
Directed by Bradley Whitford

When I noticed that this episode was written by Sorkin and directed by Whitford, I was well pleased. Both Sorkin and Whitford were two of my top reasons for watching the show in the first place, and while Tommy Schlamme would have been a good contender for the final director as well, this felt right. As did most of the series finale, for that matter, though I found it ever so slightly predictable.

It would have been hard for Sorkin to avoid the predictability, to be honest, and that’s why I can’t take too much away from him in that regard. I thought it would be satisfying on a metaphorical level for the series’ version of “Studio 60” to be canceled for low ratings, even as each character found peace with their respective demons. After watching the finale, I came to the conclusion that such an ending would only be satisfying in the short term. Taking the long view, Sorkin’s more positive and hopeful ending will stand the test of time.

After all, this series is about selling comedy in wartime, and more than that, the right and need to express irreverent perspectives and ideas during wartime. It strikes right at the heart of the cultural war spawned by the Patriot Act. It’s told from a perspective that is easy to dismiss as arrogant and privileged, and thankfully, Sorkin has taken on that notion directly in these last few moments. We’ve come to see that these “Hollywood liberals” are living and breathing the same struggles as the rest of the human race. And what we all need, in the darkest hour, is hope.

So “Studio 60 on the Sunset Strip”, within the series, had to survive. It had to endure, because if it endures, then free expression endures and our characters have a place to share their personal victories together. The ratings problem won’t go away, the couples will bicker and rage, but in the end, we know it will all work out. And that’s the message at the heart of the series, now that it’s over.

Thankfully, Sorkin manages to make the last steps of the journey to victory as difficult as it should be. We’re taken through hell and back with Jordan’s chance of survival (including one of the most evil act breaks in recent memory), and Whitford plays Danny’s angst beautifully. He’s very prominent in this episode, and that had to be a challenge. Tom’s situation was equally well done, including and beyond the moment where he unleashes a nickname for the Commander-in-Chief that could haunt him until the end of time.

The conversation between Simon and jack evolved almost perfectly, right up until the end, where Jack comes to his personal epiphany about Matt and Danny’s departure five years earlier. Had the series continued, this moment might have been more dangerous, since the character’s hard-line nature was one of the most enjoyable aspects of the character. This is one reason why the single-season lifespan of the series is ultimately acceptable: the character arcs were given enough time to come together in a satisfying manner.

If there’s one relationship that doesn’t quite get realistic closure, it’s the dynamic between Matt and Harriet. In the end, it’s a story that would have needed several seasons to evolve and shift towards common ground in the most satisfying manner, just based on the massive philosophical and ideological gap between them. Sorkin did his best to make it work, however, by turning to the universal truth of “love conquers all”. Knowing that this is the end, that this is the final statement on the relationship, I couldn’t think of a better way to bring their conflicts to momentary rest.

In short, despite all the flaws, I felt this finale (and the massive mini-arc that fed into it) gave the series a strong sense of purpose and relevance. Knowing the writing was on the wall, Sorkin took the time to give his story an ending that expressed, very well, why the series was such a great idea in the first place.

Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 3/4

Final Rating: 9/10

(Series Final Average: 7.5)

Stargate: Atlantis 3.20: "First Strike"

Written by Martin Gero
Directed by Martin Wood

After introducing the Asurans as a formidable new enemy earlier in the season, the writers have kept them out of the picture for quite some time. Thankfully, that gap is covered early in this episode, which is just the beginning of the deep satisfaction this installment delivers. Not only does this pay off some of the plot threads left dangling in the middle of the season, it propels the series (no pun intended) into uncharted territory.

The “first strike” policy touches on Weir’s struggle to maintain her leadership, a plot point that has been sidelined for far too long. Caldwell’s arrival in the second season seemed to hallmark a challenge to Weir’s authority and position, but despite her many mistakes over the years, her status has only been mildly threatened. This season could have taken the topic head-on, but it remained unaddressed until now.

This still isn’t a direct attack on her leadership, but by emphasizing how easily the military and IOA can undercut her decision-making, it feels like the beginning of the end. Let’s set aside the reality that Samantha Carter from SG-1 will be taking over command, according to the press releases and the promo at the end of the episode; the story needs to establish the logic of that transfer, and it’s already been coming together. This is another step in that process, so even if it was sporadic, the arc exists.

Character-wise, there’s still only minimal change out of McKay, which continues to be a major sticking point for me. After three major episodes this season, all of which should have resulted in some discernable measure of change in McKay, it just hasn’t happened. In fact, beyond the welcome addition of the gorgeous Jewel Staite to the series, “Sunday” seems to have had little effect, including the various character subplots introduced. It’s not anything to be applied against this episode in particular, but it’s deeply disappointing.

In fact, beyond the challenges to Weir’s authority, the character development/exploration is set aside in favor of the plot. And as I said at the top, the plot works very well. It could easily been seen as an excuse for a number of truly impressive special effects sequences, but it actually followed a certain measure of logic. This was one of those satisfying cases where I anticipate the next possible turn in the story and the writers are already right there, making it happen.

I’ve watched the episode twice so far, largely to determine whether or not the action was glossing over problems in the story. I was just as impressed the second time around. I would have liked more character shading, but the mid-season cliffhanger (“The Return”) tackled that approach, so this is a nice bit of variation. The situation simply didn’t call for it. This was about changing the game, and it fulfilled that function very well. It’s going to be a long wait until September!

Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 3/4

Final Rating: 9/10

(Season 3 Final Average: 7.2)

Stargate: SG-1 10.20: "Unending"

Written by Robert C. Cooper
Directed by Robert C. Cooper

And so it ends, the unlikely and impressive ten-year run of “Stargate SG-1”. Considering the fact that the series had been declared over after nearly every season since it’s initial Showtime cancellation after the fifth season, it’s hard to reconcile the fact that this series finale is relatively self-contained. No doubt some fans will wonder why the series didn’t wrap up the major plot threads before the end of the series.

The answer, of course, is that the series is not really over in the traditional sense. The series is spinning off into at least two direct-to-DVD films, one of which will be the resolution of the Ori plot arc. In fact, that film (“The Ark of Truth”) will cover much of the ground originally intended for this season’s finale; plans were changed when the cancellation order and film offer came down. Knowing that they could just delay the resolution to the films, the producers felt no need to manufacture a final episode with true closure.

On the one hand, this could be seen as slight to the fans, who may now be required to buy (or rent) a separate DVD just to see how the story ends. Since the decision to delay resolution was made by the producers, it could be interpreted as a marketing ploy. It’s a fair criticism, because not every fan out there is going to understand or know what the films represent. They’ll just see the series finale as a frustrating cop-out.

On the other hand, any series with such a long history (and a distinct lack of planning) will struggle with a truly satisfying and all-encompassing finale. There’s always one more element that “should have been there”. Looming large over this finale is the memory of Jack O’Neill and the almost-perfect eighth season finale “Moebius”; a number of fans still consider that to be the true ending of the series. So this finale was never going to be universally satisfying with the weight of so much expectation.

The result was an episode that could have run at any time, with very little in the way of closure. Perhaps that was for the best. Some might say that the episode provided emotional closure, but with the reset button firmly in place by the end, it’s elusive at best. If there’s a sense of anything in this series finale, it’s that the team carries on like they always have. There really is no end. The mission continues. It’s the kind of non-ending that only works because we know, as fans, that there’s more on the way. Who needs closure when the story isn’t over?

Once has to wonder, though, if the character development (such as it is) will now disappear. Character has always been somewhat expendable in the “Stargate” franchise, with a simple set of quirks in place of true progression and growth. The films will be more about plot than delving into character depths. So we’re unlikely to get insight into Mitchell, for instance, which quite a shame, as it will feed into the impression that he was an unnecessary addition.

The relationship between Daniel and Vala gets a tentative payoff, which was a nice touch. The two of them have been dancing around each other for a while, and this was a capable enough way to show that they could ultimately find a life together, The reset button keeps that from getting in the way in the future, of course, so the satisfaction is tenuous. (One might also find fault in Daniel’s harshness with Vala, which was not redeemed by his recognition of how badly he hurt her.)

All in all, this just didn’t feel like a real series finale, because the elements that would have been present were shifted to the films and some of the characters (Carter, at least) will move to “Stargate: Atlantis” or the proposed new series. This just didn’t feel like the end of a ten-year saga; it was just another episode. And while that made sense from a certain perspective, I couldn’t help but feel that it send off the series with a bit of a whimper.

Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 1/4

Final Rating: 7/10

Studio 60 1.21: "K&R: Part III"

When I heard this was a trilogy spanning one single dark night of the soul, I was thrilled by the idea. When I saw that it was essentially the “Studio 60” version of “Lost”, right down to drawing parallels between past and present with flashbacks, I was even more thrilled. Bringing the series full circle and grounding its themes in “television during wartime” was the icing on the already incredibly rich cake.

To say that I will miss this series when it’s gone is a massive understatement. For the past few weeks, I’ve been screaming at my TV in happy frustration at the end of every hour. Knowing that the end is near is making it that much harder. It’s like getting towards the last couple of chapters of a book that took a while to get going, but was worth the patience by the end.

I was a little surprised by the lack of resolution, because when you think of a trilogy, you think that the third act would bring the pieces together. Structurally, though, this is more of the classic five-act form: introduction, rising action, complication, climax, resolution/denouement. And that’s pretty much what we have with the final five episodes.

That makes this the climax, for all intent purposes, and from a character perspective, it’s true. Everyone gets to a point of personal crossroads at the end of the hour. Danny is placed in the most hopeless of situations, left with nothing but faith to pull him (and in a sense, Jordan) through. Harriet faces faith on her own terms and helps Danny understand humility, perhaps getting a sense of where Matt’s coming from in the process. I was expecting that dynamic to happen with Matt and Harriet after the first part of the trilogy, but this was a better execution.

Matt’s moment was really with Jack, bringing him towards closure with all the issues brought up in the pilot. Jack, in turn, must face down his own decisions while dealing with the fallout of Simon’s outburst. I don’t recall if they’ve touched on Jack’s sexuality before, but it was an interesting direction to take; without a second season, however, it could be seen as extraneous. Whatever the case, I found Jack’s attitude and restraint with Simon to be a telling contrast to his tactics with Matt and Danny.

Since the trilogy includes a number of dramatic elements in threes (Danny/Harriet/Matt on faith, Matt/Jack/Simon on truth vs. perception), there’s the third crisis with Tom and his brother. This is more plot driven as a necessity, but there’s the struggle between Tom and his two “advisors”, Mary and Captain Boyle. Tom is caught between the percentages and the difference between personal and global moral concerns. It’s a bit more abstract for the audience, since the other dramatic threads are more directly relatable, but it’s still compelling.

All of the characters dance and weave around these three threads, contributing to each character triptych in turn, and those minor shadings make it all more cohesive. As concluding arcs go, this is a stunner, and the effort taken to connect the continuity dots (finally bringing the Bill Maher item in line with this retelling of Matt and Danny’s exit in 2001) is well appreciated. If Sorkin and his staff can pull off a solid dismount for the finale, this series will go down in the books as true missed opportunity.

Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 2/4

Final Rating: 8/10

Stargate: Atlantis 3.19: "Vengeance"

Written by Carl Binder
Directed by Andy Mikita

The second half of this season of “SGA” has been riddled with apparent homages to well-known science fiction staples. This is at least the fourth such episode, and the second in which Sheppard actually points out the film that the show is emulating. This does have a lot of similarities to “Alien”, but the nice touch here is that the episode actually has long-term implications. That has been rare, especially in terms of McKay’s character development.

This time, it’s the return of Michael, who has somehow survived after being blown to all hell in “Misbegotten”, a turn of events that is never explained. In the end, it doesn’t really matter: this is a story about consequences. Everything Michael does in this episode, and will do in the future, is the consequence of the decision to experiment on him at the end of the second season. When it comes to the list of questionable decisions under Weir’s tenure, that has to be near the top of the list.

Michael is now creating Super-Wraith, which is a major problem. Just about the only good thing about them, at this point, is their somewhat mindless state. They attack and follow Michael’s orders, but they don’t seem to coordinate very well. Ronon and the others discovered at least two basic methods of killing the Super-Wraiths, and that was under less-than-ideal conditions. The real problem was a question of numerical superiority; there were too many to kill.

If the Super-Wraith were to act like the more familiar version of Wraith, complete with intelligence and the desire to feed rather than kill, the situation would be a lot more terrifying for Team Atlantis. As it is, they’re dealing with their own version of “Alien”, which is bad enough. The tension made this a good episode to watch, but for me, it all came down to the confrontations with Michael and Weir’s recognition that this is largely her responsibility.

It highlights what had been a major undercurrent of the series and what may finally be coming into the forefront: the question of whether or not Team Atlantis has been a good thing for the Pegasus Galaxy and, for that matter, the Milky Way. The awakening of the Wraith, the issues with the Genii, the unleashing of the Asurans, Michael and his new legion of Super-Wraith, the list goes on. Sooner or later, authorities on Earth are going to hold someone accountable.

This episode introduces an element that could bring a sense of cohesion to the fourth season, if it’s utilized well. Michael and his legion can now be added to the list of Pegasus Galaxy enemies: Wraith, Asurans, and the Genii. With so many enemies, the writers have more than enough opportunity to choose a couple of them and develop an arc that will be satisfying. After all, “SGA” will soon be the only series on the air, and the stakes will be raised.

Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 2/4

Final Rating: 8/10

Stargate: SG-1 10.19: "Dominion"

Written by Alan McCullough and Alex Levine
Directed by William Waring

After a number of episodes focusing on stand-alone concepts, the season arc comes back in a big way in this penultimate episode for the series. The name of the game, as usual, is plot progression, even when it requires severe willful suspension of disbelief to accept the logic that allows for that progression.

No matter how well they leave the door open, this felt like a way to take the ridiculous Ba’al plot thread and bring it under control. The ending mitigated that measure of control, but we now have less Ba’al clones to worry about, and that’s a good thing. Given the age of the series and the constant possibility of cancellation (which is now coming to pass), having such a massively open-ended plot element lingering the background was simply not a good idea.

That’s why bringing Ba’al into the prelude to the conclusion of the Ori arc was a genius move. It helps make sense of Ba’al’s actions since the fall of the System Lords, and it’s the kind of leverage he would try to find and utilize. It also allows the writers to complicate the capture of Adria, which might otherwise have been a bit too easy.

Unfortunately, after setting the stage for a final showdown over the solution to the Adria problem, the writers toss a major plot convenience into the mix. Despite taking precautions on more than one occasion to keep an anti-Prior device around Adria, they completely blow it during the most important moment. If one of those devices had been in the room when the toxin was being administered, Adria would have been gone and, if Ba’al and Adria are to be believed, the Ori fleet would be without Ori and Orisi.

Instead, Adria is able to ascend, which is a nice set up for the conclusion of the arc in “The Ark of Truth” film, if nothing else. I’m just not sure that the writers took the most logical path to that end. More than once, the characters mentioned Adria’s eventual ability to overcome the anti-Prior device; why not use that plot point to explain her ability to ascend at the end, even with one of the devices in the room? A minor change, but one that switches plot convenience with plot payoff.

That final act is really the only weak link in the episode, despite my annoyance that the Ba’al plot thread was kept open when it could have been easily closed. It’s enough, however, to keep the episode from achieving its full potential.

Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 2/4

Final Rating: 8/10

Studio 60 1.20: "K&R: Part II"

This is the middle of a trilogy, and as such, the name of the game is escalation. Situations need to get more and more complicated driving into the conclusion, and that thought process drives both time periods explored in this story. In fact, the stories are so compelling that I was screaming at my television in frustration at the end.

Some found my comments in the previous review somewhat naïve and ridiculous. After all, they said, “we already know how Matt lost his job, why would you need more context”? At it turns out, there’s a lot more to it than supporting Bill Maher, and we’re getting to see that process unfold. In fact, this time around, the writers beat the audience over the head with the message: this is not going to end well, because it didn’t end well last time, either.

In the past, Matt and Danny were left with the burden of doing something they didn’t want to do: put on a season premiere right after the initiation of the War on Terror and with their writers’ hands tied behind their backs. Matt wants to play it safe, but as reinforced on many occasions, he also recognizes when a sketch will work and should be allowed to happen. This was the case with “Crazy Christians”, as seen earlier in the series. That brings everything to a head, with Matt allowing the “wrong” content to leave the writers’ room and Danny in charge when it’s about to happen. We already know how the story will end, but now there’s a lot more context.

The situation in the present is not quite a parallel in terms of putting on content that Jack doesn’t want on the screen. It’s tonally parallel in that Matt and Danny are in charge when the situation gets beyond Jack’s control. Like Wes in the past, Jordan is in the hospital, so there’s nothing between Jack and Matt and Danny. Both of them are distracted by so many personal issues that they miss the crucial matter of keeping Simon away from the press. And considering how hard Jack was trying to keep the network and Studio 60 from being even more of a target, that’s really the final straw.

The connective tissue is the war, which again helps to place the series in a more consistent context. This is interesting, because while some fans probably caught the undertones from the very beginning, this trilogy makes it abundantly clear. This was never a show about how television works. This has been a show about how television works in wartime. And that adds a sense of nuance to every episode, every scene, and every line. It compels the audience to go back and watch again from the beginning, because placed in context, scenes that once sounded like Sorkin ranting to the audience now sound like characters speaking from the heart.

The inevitable effect of this trilogy, and the series-capper that will follow, will be the acknowledgment from many of the critics who dismissed the series in the first place. The series still has its flaws, but looking back, this “Lost”-esque look at how the characters have come full circle is more than worth the effort.

Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 2/4

Final Rating: 8/10

Stargate: Atlantis 3.18: "Submersion"

Written by Ken Cuperus
Directed by Brenton Spencer

First, there was the “SGA” version of “Flowers for Algernon”. That was quickly followed by the “SGA” version of “Ender’s Game” meets “Civilization”. Now, we have this series’ version of “The Abyss”. Even Sheppard points that out early in the episode! Thankfully, that’s not an automatic negative, since the purpose of the episode is exploration of the Wraith. Or, at the very least, a reminder of how creepifying the Wraith can be, even after being sidelined for what seems like ages.

At the end of the day, this is a “bottle show”, which means the order of the day should be psychological character exploration, brought out by the insanity of the situation. Previous “bottle shows” in the Stargate franchise have been hit or miss. This episode seems to fall somewhere in the middle. It gives the writers a chance to focus on Teyla for once, but in the end, there’s the unfortunate feeling that an opportunity has been wasted.

Teyla ultimately gets to vanquish an enemy that is otherwise nearly impossible to beat, all based on her connection to the Wraith hivemind, granted to her in a first season episode by an infusion of Wraith DNA. The struggle of wills is the highlight of her plot thread, revealing her inner strength in a way that hasn’t been evident in quite some time. That makes the resolution of the episode too simple and pat in comparison; it also serves to put Sheppard and McKay in position, once again, to save the day.

Speaking of McKay, after the previous episode, it’s hard to imagine him displaying his trademark sarcasm in quite the same way. This has become an ongoing concern, because it’s another sign that the writers struggle with the concept of letting characters grow and evolve. If the movements are too subtle, then they easily fall into the range of variation from writer to writer, and seem less like planned character evolution than planned stagnation.

As entertaining as the episode is as an underwater struggle against the most powerful Wraith yet, it fails to deliver as a solid Teyla episode, which is what I had hoped it would be. The character has massive potential, but for it to be realized, she needs a strong and non-relationship-driven arc. Perhaps something that emphasizes her role as the leader of her people in contrast to her role with Team Atlantis, as a follow-up to her arc in the first season, would be the right direction.

Writing: 1/2
Acting: 2/2
Direction: 2/2
Style: 1/4

Final Rating: 6/10

Stargate SG-1 10.18: "Family Ties"

Written by Joseph Mallozzi and Paul Mullie
Directed by Peter DeLuise

At this point, it’s expected that the writers will avoid the Ori arc completely until the last couple episodes. Just judging by the description of this episode, it was apparent that this would be another stand-alone effort. It’s not a question of disappointment or dashed expectations anymore; it comes down to finding some measure of contentment with what the producers chose to drop into the second half of this incredibly uneven season.

The theme is relatively simple: the divergent fortunes of two fathers and daughters with a lot of bad feeling between them. The “A” plot is the conflict between Vala and her father, who has come to Earth with the news that Arkad’s fleet (from the previous episode) is still on its way. In reality, he’s even more of a con artist than his daughter, and he’s there to make a few rotten deals and move on.

The writers attempt to make Jacek amusing, and given how ridiculous the various schemes and plot turns become, there’s little doubt that the intentions are right there on the screen. That makes the lack of hilarity a major stumbling block. Some moments were amusing, like Teal’c’s final moments in the “Vagina Monologues” (wouldn’t Teal’c check the name of the show on the tickets, at least?), but most of the interplay and the scheming was too smarmy to accept.

The issue here was Fred Willard, who never communicated enough seriousness to be convincing as anything but a poor con artist. Every time the camera hits his face, his expression reveals the snake-oil salesman at the heart of the character. That makes it impossible to accept that anyone would be fooled by him, which undercuts the effectiveness of the concept. Vala, despite being over the top on most occasions, can switch on the charm and sincerity when the situation demands it.

With the “A” plot failing on so many levels, the “B” plot hasn’t got a chance. In this case, General Landry is trying a bit of rapprochement with his ex-wife, and he recruits his daughter, Dr. Lam, to facilitate the process. When things get crazy with Jacek, Landry comes close to pulling out of the planned dinner, thus threatening to ruin whatever ground he’s gained with his daughter. In the end, he makes the right call, in counterpoint to Jacek’s choices.

This might have been more effective, however, if the writers had included Dr. Lam more often in the tenth season, beyond the occasional medical crisis. The details of her relationship with her father, never explored in any depth, are so far out of mind that one is left wondering why it needed to be addressed at all.

Writing: 1/2
Acting: 1/2
Direction: 2/2
Style: 1/4

Final Rating: 5/10

Studio 60 1.19: "K&R"

This episode continues the final major arc of the series, and as such, the time has come to bring the plot and character threads closer to resolution. As such, it’s not particularly surprising that the major relationships would be inching towards a sense of closure. What is surprising, under the circumstances, is how well this arc is pulling together all the pieces and giving the entire series a feeling of planned cohesion.

While it should have been obvious that Matt and Danny left Studio 60 in the fall of 2001, it was never emphasized. Yet taking that into consideration explains so much about the tone and topicality of the series, including its constant focus on political, social, and religious issues. Matt and Danny’s exit from Studio 60 was tied into the conflicting demands of the post-9/11 world, and that changes the context of their return. If, as hinted in this episode, they were forced out because of tensions over content related to politics and religion in the wake of the beginning of the War on Terror, those thoughts and memories would be inexorably tied into the circumstances of their restoration to the show.

It’s hard to say if that was always something in the back of Sorkin’s mind, but if it was, it’s a damn shame that it was never apparent at the very beginning. There were some indirect comments regarding Matt’s religious humor being an issue, particularly “Crazy Christians”, but now the implications are a bit more accessible. The timing was always there on the page, but now that it’s been explicitly spelled out, I think it really paints the picture. It certainly made me appreciate and understand some of the subtext from earlier in the season!

The flashbacks also demonstrate how the series is coming full circle in terms of the story. Jack’s present actions are colored by his assumptions and errors in the past. Tom’s current crisis is seen as the culmination of six years worth of accumulated worry and family dysfunction. The montage of Matt and Harriet’s relationship over the years, all coming down and arriving at this particular point in time, is one of the most gratifying moments thus far.

As much as I found the initiation of the Jordan/Danny relationship to be forced, with the wrong message about Danny’s behavior being sent in the process, I couldn’t help but be pleased when Danny proposed. I still think it will be a contentious relationship, especially if Studio 60 pulls out of the ratings dive, but something tells me that will be directly addressed in the finale.

At this point, it almost feels like the series should end with Studio 60 being cancelled, Jordan fulfilling her “one year” prophecy, and the entire tale being about how this last-ditch effort to save a sketch comedy show changed the lives of those struggling to keep it afloat. It wouldn’t be the happy ending everyone expects, but it would give the audience one last chance at catharsis.

Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 2/4

Final Rating: 8/10

Stargate: Atlantis 3.17: "Sunday"

Written by Martin Gero
Directed by William Waring

Without question, this is an episode designed to stir up fandom. The entire situation is contrived to bring about the death of Dr. Carson Beckett, a fan favorite who has rarely been given the time or depth deserved. One could argue that the episode serves the purpose of setting other plot thread in motion as well, but the flow of the episode makes it more likely that the end goal was in mind and the rest came after.

All things being equal, the body count has never matches the inherent dangers faced by Team Atlantis. They’ve lost Ford, but that was mostly an issue of cast chemistry. Frankly, I’m shocked that the character was given the kind of long-term exit he was given. Minor characters have been killed here and there, but like most episodic genre series, the longevity of the cast becomes a liability to any sense of realism.

Sooner or later, a main character has to die when so many dangers abound. The trick is to make the death seem organic in the storytelling, the logical consequence of statistics or personal destiny. Even the best writers run into trouble when that moment comes. This is actually not a bad attempt at giving a character a strong send-off, as he’s actually doing what he does best: saving lives that would otherwise be lost.

The structure of the episode gives it a “lower decks” feeling. The writers don’t try to build too much plot around Beckett’s death; they take the time to explore what the characters were doing in the quiet moments before the crisis comes. Some of that time is even spent on characters other than Sheppard and McKay, which is a nice touch.

Once again, it seems like McKay is acting without a shred of consideration to the events of “The Tao of Rodney”, especially at the beginning of the episode. He also seems to forget the incidents, earlier in the series, where his ability to work his way out of a deadly situation was only marginally successful. Whatever the case, this is another episode that should leave McKay with lasting consequences, and it will be disappointing if that doesn’t happen. (The romance angle could also help humanize him, though it’s disappointing to have this apparent long-term development come seemingly out of nowhere.)

Sheppard’s growing rapport with Ronon is always fun to see. I’d like to see more depth to Ronon (which is pretty much a constant complaint at this point), but this sets up the possibility of John and Ronon vying for Teyla’s affections. It’s about time that the writers recalled that John and Teyla had been dancing around each other in the first season, and while I’m usually annoyed by inane relationship drama, it may lead to character development. As rare as that can be, it’s a welcome possibility.

There’s also the possibility of romance for Weir, though that’s more of a negative for her than a positive. If there’s one long-term character arc that has been sporadically building this season, it’s Weir and her embattled position as the head of Team Atlantis. On several occasions, I’ve wondered if Weir’s choices would come back to haunt her, and the writers have never taken it as far as they could (or should) have. Questions could come up regarding Weir’s activities during the time leading to Beckett’s death, and it could add to the long list of reasons why the IOA might want someone else in the leadership role.

This will probably never be listed as anyone’s favorite episode, since it is overwhelmed by the seemingly unnecessary death of Dr. Beckett. It had its moments, however, and if certain character elements remain in the forefront after coming up in this hour, then the episode might make better sense in the long run. The worst thing that could happen is the most obvious, given the history of the “Stargate” franchise: that Beckett’s death would be largely ignored and barely referenced.

Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 2/4

Final Rating: 8/10

Stargate: SG-1 10.17: "Talion"

Written by Damien Kindler
Directed by Andy Mikita

With the season and series rapidly drawing to a close, each and every stand-alone episode becomes a new source of frustration. The battle against the Ori must inevitably continue, yet since “The Shroud”, very little movement has been evident. This episode, at first, seemed to be the perfect opportunity to meld character exploration with plot progression. In the end, however, neither aspect was meaningfully explored.

Ever since the liberation of the Jaffa Nation, the Jaffa have struggled with the concept of freedom. As is often the case historically, those brought together against a common oppressor in the name of revolution will ultimately turn on each other within the resulting power vacuum. And as already seen in the ninth season, other powers will inevitably attempt to support one or more factions in the hope of taking control, or at the very least, destabilizing a weakened people.

Enter Arkad, a previously unseen figure among the Jaffa, who seems to be allying with the Ori and opposing a supposed violent and self-enslaving Jaffa Council. Arkad claims to be battling these violent factions, including one planning to attack Earth. It’s fairly obvious that Arkad is the one planning the attack, and his attempts to sound reasonable and legitimate are ridiculous.

This is meant to complicate what is a fairly conventional revenge tale, and one that feels tacked on to Teal’c’s character. Granted, Teal’c and Bra’tac have a fairly intricate past, so it’s not unreasonable to suspect that vendettas exist with other Jaffa, but this seems to come out of nowhere, given its importance. It’s far more likely that the writers wanted to turn back to the tensions among the Jaffa and felt the need to personalize the situation for Teal’c, thus prompting this story about Arkad as the man who engineered his mother’s death.

This is unnecessary for the purpose of complication. If Arkad’s actions had simply resulted in IOA orders to stay out of Arkad’s ways, yet Teal’c was willing to go after the enemy because of Bra’tac’s near-death, it would have been sufficient and consistent with previous episodes. The sentimental ending between Teal’c and Bra’tac would have still made sense (even it it does feel incredibly redundant), and the writers would still have the rationale for Teal’c and the rest of the team to face off against each other.

While this situation continues to set up Teal’c and Bra’tac as the de facto leaders of the Jaffa, that wasn’t really necessary at this point. That concept has been on the table for quite some time, as has the idea of Teal’c leading the charge to clean out the Jaffa of traitors. It would have been better if the episode had been centered on that process rather than yet another reason for its initiation.

Writing: 1/2
Acting: 2/2
Direction: 2/2
Style: 1/4

Final Rating: 6/10

Studio 60 1.18: "Breaking News"

If the previous episode emphasized the farcical aspects of the series, then this episode is all about the drama. There are some funny moments throughout the hour, particularly in terms of some great character beats, but the goal is escalation of tension. With the fate of the series sealed, Sorkin is moving towards an endgame, and this is clearly the beginning of that process.

This is a more organic follow-up to “4AM Miracle”, but “The Disaster Show” fits into the broad statement that Studio 60 has been in a creative tailspin for several weeks. The ratings are dropping into dangerous territory, and by whatever measure Jack determines his support for Jordan, that line is being approached at a vastly accelerated rate. That ratings issue hangs over the episode like black cloud, and while it gives Sorkin a chance to toss some attitude at those who harped over the ratings of his own show, it also provides a clear and concise case for the show’s cancellation.

The business pressure precipitates and enhances much of the remaining drama. Matt’s situation is absolutely soul-crushing. Having fallen into addiction (and his journey out better not be as easy as he wants it to be), he’s taken the show with him, and it’s affecting everyone else around him. The situation with Karen and her lawsuit, complete with the hottie lawyer with the contradictory personality, just supplies more pressure. He’s trying to convince himself that he’s over Harriet, but he’s not, and the show itself has put forward the idea that he works best when trying to impress her.

I would have rather seen Danny confront Matt without Suzanne’s help. The eventual confrontation was quite satisfying (if a bit didactic), but it might have been better without the additional layer. That said, it’s good to see Suzanne getting some screen time, given how little there is left to share. But given how the ratings issue built between Danny and Jordan over the hour, the timing was perfect. This was the very last thing Danny needed when the ship is sinking and he’s trying all too hard to pretend it’s not.

Jordan’s character beats were interesting in that her thoughts must be dominated by the fact that she can’t feel the baby kicking (always a bad sign in fiction, it seems), yet she’s trying to keep things together and deal with her faltering career and the strain it’s putting on her relationship with Danny. That serves to highlight all of the obvious issues with this office romance, and that’s something I applaud. It will never end as badly as it should, but it’s great to see the obstacles come up. (So they can, of course, overcome them by the finale.)

Had the story focused on the three main characters alone, it would have been worth the time. But this was an incredibly dense hour, and the subplot involving Tom’s brother exploded at just the right moment to take the episode into unexpected and gripping territory. I’ve been critical of the plot and character arcs for the series, and I still think they were the cause of the show’s downfall. The actors and the characters themselves have been the draw for me, and the final act demonstrates why. Given powerful material, the cast steps up to the plate in a huge way. I was left wanting more, and considering where “Studio 60” stands at this point, it’s quite the achievement.

Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 2/4

Final Rating: 8/10